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Matthews. ALL WHO HAVE EXAMINED THIS BOOK UNITE IN SAYING THAT The Lessons and Exercises are not Dry and Tedious, ONE OF ITS CHIEF PECULIARITIES BEING SOMETHING ATTRACTIVE AT EVERY STEP. The result is, the Teacher is enabled to impart a thorough knowledge of the Art with far less trouble and in a far more satisfactory manner than he has been able to do with any other system, and the Scholar learns more rapidly, is better pleased with his daily progress, and looks forward to his next lesson as a pleasant pastime rather than as an irksome task. The usual dull and wearisome exercises for practice are in this NEW METHOD superseded by Charming Melodies that please the ear while they assist the pupil in his efforts to become an excellent pianist. Teachers and Scholars can order this work with perfect reliability upon its being in every particular all that it is represented to be. Two editions are published, one adopting American, the other Foreign Fingering. When the work is ordered, if no preference is designated, the edition with American Fingering will be sent. I Be sure that in ordering it you are particular in specifying the "NEW METHOD.” $3.00. Mailed, post-paid, to any address. Sold by all Music Dealers.-Published by OLIVER DITSON & CO., 277 Washington St. Price, THREE INVALUABLE BOOKS FOR EVERY PIANOFORTE. THE HOME CIRCLE-A volume of 216 pages, contains 25 Marches and Quicksteps, 47 Waltzes, 31 Polkas, 6 Schottisches, 4 Redowas, 4 Mazurkas, and Polka Mazurkas, 2 Varsoviennes. 1 Gorlitza, 4 Galopades, 14 Cotillons & Quadrilles, and 44 Dances, Hornpipes, &c., arranged for the Piano. THE SILVER CHORD-A Companion to the "Home Circle," containing a Collection of Favorite Songs, Ballads, Duets, and Quartets, with Accompaniments for the Piano-forte. THE SHOWER OF PEARLS-Containing the most beautiful Duets for 2 Sopranos, Soprano and Alto, Soprano and Tenor, Soprano and Bass, and Tenor and Bass. Arranged with an Accompaniment for the Piano-forte. The large amount and great variety of Piano and Vocal Music comprised in the above Collections, have rendered them immensely popular, and much sought after by Players and Singers. They furnish the most suitable pieces for every time and occasion, and are adapted to every grade of performance. Each volume is a complete library in itself of Choice Music, and no one will fail to recognize in one and all a great desideratum for every Piano. Price of cach, in cloth $2.25 in plain binding $2.00. on receipt of which copies will be mailed, post-paid. OLIVER DITSON & CO., Publishers, 277 Washington Street, Boston. Camp Songs.-New Edition, Enlarged. "Camp Songs" is a collection of NATIONAL, PATRIOTIO, SENTIMENTAL AND SOCIAL SONGS, to many of which the music is attached, designed to relieve the dull monotony of the soldier's life and lighten the hours of the long and weary march. To do this nothing has been found to equal music, and no collection can excel Camp Son, 8 in the number and variety of its pieces, comprising, as they do, something for every orcasion. The old heroes " should each have a copy, and the **600,000 more" be well supplied. The price of Camp Songs is only Twelve Cts. on receipt of which a copy will be mailed to any address. Ditson & Co., Publishers, 277 Washington Street, Boston. THE SHOWER OF PEARLS, A COLLECTION OF CHOICE VOCAL DUETS. WITH PIANO ACCOMPANIMENT. The Shower of Pearls, contains the most beautiful Duets for Two Sopranos, Soprano and Alto, Soprano and Tenor, Soprano and Bass, and Tenor and Bass. Arranged with an Accompaniment for the Piano-forte. Bound in Cloth. Price $2,25 on receipt of which it will be sent by mail, post paid. Oliver Ditson & Co., Publishers, 277 Washingington Street, Boston. MASSES FOR CHURCH SERVICE Farmer's Mass in B Flat. Cloth 75 ct. Parer 50 ct. Beethoven's Mass. Cloth $1.00. Paper 75 cents. 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Published by OLIVER DITSON & CO., 277 Washington Street, Boston. KING'S NEW COLLECTION. OF CHURCH MUSIC. Mostly Selected from the Works of the Great Masters. With a Separate Organ Accompaniment. PY WILLIAM A. KING. Editor of the Grace Church Collection, &c. The favor with which Mr. King's previous works have been received, and their continued popularity, will insure for this new candidate for public patronage a cordial welcome. The book is finely printed, and bound in cloth. PRICE $2,00 $18,00 per dozen. DITSON & Co., Publishers. 277 Washington Street, Boston. Copies mailed, post-paid on receipt of pr.jce Four-Part Songs for Male Voices. Mendels wohn's Four-Part Songs. For Male Voices, two Tenors ad two Basses. English and German Words. Price 75 cents. Arion: A collection of Four-Part Songs for Male Voices, mainly to be sung without Accompaniment. In 5 books comprising separate Vocal parts and Piano Score. Price, complete, 5 Vols $3. Vocal Parts, 4 vols. $2,25. Single vocal part, 75 cents Piano Score $1,50. The above sent post paid, on receipt of price. Published by OLIVER DITSON & CO., 277 Washington St., Boston. DWIGHT'S JOURNAL OF MUSIC. ONLY ONE DOLLAR A YEAR! Each number containing sixteen pages, including FOUR PAGES OF SUPERIOR MUSIC, MUSICAL ESSAYS. CRITICISMS, REVIEWS, REPORTS OF CONCERTS, a General Summary of MUSICAL INTELLIGENCE, and CORRESPONDENCE from all parts of the United States and Europe. Specimen copies mailed free on application. Published by OLIVER DITSON & CO., 277 Wa sh ington Street. WHOLE NO. 579. BOSTON, SATURDAY, JUNE 13, 186 3. It might be that at a casual glance, or in the first hearing, this would appear like a new idea; but transpose now the melody from A flat major, which stands above, to F major, and note the same decline of tone, which is shown by the principal accent, and which, on account of its clearness, I have placed above at A-and it will be seen that the violoncellos bring in nothing but was there before; excepting that the melody was given to other instruments, transposed to a different key, and otherwise accompanied and varied. These means can all, at once, be applied, and are to be found in the works of all good masters. The rule of construction which underlies this, is one long known, although Berlioz's model is entirely his own, not formed of the materials of others, but stamped with his own individuality throughout. ness in this respect goes no farther, relatively, than other masters have gone in earlier times. He has not overstepped the boundaries of art, but he has certainly discovered and pointed out new paths, wherein dwell marvellous effects of harmony, and of which our childish harmonists know nothing. Of all reproaches which they make to Berlioz, done is to me more incomprehensible than that "he lacks expression" (feeling); that his heart is cold, and that he constructs his musical fabrics only by the aid of his reason. Berlioz wishes to portray the affections, feelings, and passions, which arise in men in certain situations, and because this exceeds the capability of purely instrumental music, he adds thereto a sufficiently clear verbal explanation. Esthetic writers maintain that "Programmemusic" is a violation of the privileges of instrumental music-but of late, most composers have written programme-music. Which are we to believe the former or the latter? A negative dissertation on programme-music; or the emotion and pleasure which we feel in hearing the "Pastoral Symphony", the "Midsummer Night's Dream", and many similar works? "It is absurd" one often hears, "to try to represent outward phenomena by musical sounds"."Calmness" is an outward appearance; and, "A happy voyage" is an outward event. The former Mendelssohn has manifestly portrayed. But must one declare to any reasonable person, that this was not the chief object of Mendelssohn, but that he wished to represent the emotions which arise in men in certain situations and aspects? And Berlioz wishes nothing more than also Beethoven, Mendelssohn, Spohr, and many others desired. Therefore, his design is not unartistic, at least to those on whom "programme-music," (in the above meaning) depends for its estimation. Every important artist has to create his own model, to express and portray his inclinations for VOL. XXIII. No. 6. kind of opera; but in the manifold series of musical splendors I would receive these like all other genuine works of art, and leave them not to the future. I confide a work of art to no future, if it does not interest in the present, since men do not change so completely as that a whole subsequent generation can enjoy what a former one had actually with ill-humor, repulsed. And where can be found, in the whole history of music, a single example of a composer, who influenced, not his own time, but a future one? Mozart is cited as an example! But what do we understand by the "future"? Mozart died in his thirty-sixth year, already acknowledged by the greater part of the nation. Beethoven? I think he may be satisfied with the homage which he received from the greatest of his own time.Possibly, J. S. Bach? He is even now the first in the present age, and has been known as a great genius during the last hundred years. He has given more pleasure to the ear and mind of our own time, than actually to his own contemporaries; yet he will also be acknowledged the greatest organ-player, and composer, of his own age. Is Wagner a composer of the Future? In his writings, in which he disappoints himself and others, he is; but not in his operas, which have already found an audience. And so the works of Berlioz belong to the present time, in which they are oftentimes well represented. Thus, briefly, writes an Englishman, who heard Berlioz's operas and other compositions lately in Weimar: "The revival (of the opera) has made a real sensation, in which there has been nothing factitious, or managed. Let the critics be ever so critical on the school to which M. Berlioz belongs, every generous person must have found pleasure in witnessing the cordial manifestation of sympathy, that greeted the French composer in Goethe's town." Thus the works of Berlioz please in the present time. He does not require the future, in order Further, one will find often in his works bold special objects in his own way; these means are, to become known; he needs, actually, only the and must be manifold in every art; they cannot fail of possessing in themselves, according to their nature, a power of attraction in larger or smaller circles of mankind. Schiller has a larger audience than Goethe. Kotzebue had, perhaps, in his time, a still larger one. The higher the style of art, the smaller will be the number in proportion of those who unite together musical ideas and a perfect form. It is truly said, like can be fully understood by like alone. and startling modulations. Once upon a time, the uninterrupted progression of two parts in fourths and fifths gave the greatest delight to the listeners; but the modern ear would be in despair. When the first septachord was hazarded, they thought the inventor only fit for the madhouse. And thus it is to-day. Having no musical discipline, the present age is not so charitable to harmony as to the theory of harmony, which crawls after music at a snail's pace, and Berlioz inclines to select as subjects of his pen, still remains far behind! Already the new, free the tragic heights and depths of human circumthinking doctrines of harmony deride every sym-stances and passions. But he does not disdain phony of Haydn ! The first steps of all ingenious composers are transgressions, apparently, of harmonic laws; they are plausible, but seldom correct. "Theory forbids that", said a critic once to Beethoven. "And I allow it," returned he. I will not here point out the passages which might be charged upon Berlioz, as containing crude harmonies; but it is certain, that his bold the comic, the droll element, which he has in him the capability of expressing. At the same time, good will of the conductor and orchestra. With an increased number of instruments, and greater skilfulness in the orchestra, the high claims of the composer will be established. What Mozart required to have performed, was found very difficult by the orchestras of his own time; fifty years before they would have declared his works impracticable. They are now merely child's play! And from Beethoven's ninth Symphony many orchestras recoil yet. Perhaps Berlioz's works make even greater pretensions, but certainly they are not impracticable. Weimar and Brunswick have proved this. But does any one believe that, until now, his compositions have ever been per he endeavors to urge powerful emotions to the fectly well performed anywhere? A composer I should not wish that Berlioz became the only model of imitation, any more than I would have Wagner's operas "of the future" furnish the only *If endeavoring would only make a Shakspeare!-ED. must have conducted his own works, in order to know how far the effect of the first orchestral performance falls short of the complete effect, which he hears, in his own mind. How was it for many years with the Symphonies of Beethoven? Having incurred censure by unsatisfactory representation, his works were criticized with severity; and from this injustice Berlioz suffers to this day. Even now, some of them are called odd, because the effects therein are entirely original! Mozart was odd, Beethoven was odd, and so Berlioz is odd. (To be continued.) A Letter from Rome. The London Musical World adopts the following for its "leader," having translated it from some humoristic German writer in the Niederrheinische Musik-Zeitung. **** After what has preceded, you will naturally expect that a man who is great as a musician, not less important as an author, and unrivalled as a tourist, should send you at least an appendix to Mendelssohn's Letters from Rome. But no! I will not cast into the shade poor Mendelssohn, if merely out of a feeling of respect for my old master. I leave this task to others, say, for instance, Franz Liszt, whom I met yesterday in St. Peter's; but I could scarcely recognize in an old, bent-down man, leaning against a pillar, the lively, blond-haired, genial companion of former times. Since, in the true poetic fashion, I have now plunged you in medias res, 1 may return to the chronological course of my travelling epic. After I had somewhat deadened, by a farewell Soirée of solid musical cheer, with due addition of creature-comforts, the grief experienced by my Viennese friends at parting with me, I hastened, at the beginning of March, towards that quarter of the South where Goethe's believing admirers expect to perceive, on all sides, only verdant groves and glowing golden orange-trees. I saw and experienced, however, in the month of March, on the Brenner, and even a considerable distance further, a great deal which could be designated neither glowing nor verdant. Innsbruck, Verona, and Milan were evidences of the difference between poetry end prose; it was not until I proceded from Genoa along the Riviera di Levante that a clear-blue sky was to be seen; but I beheld Chiavari and La Spezzia already completely decked out in the garb of Spring; while the fortress-walls of Varignano appeared to me less grey than they appeared probably to Garibaldi. I would fain have sent you, from some local admirers of yours, a stone from the walls, but I restrained myself, pursuing, also, though with far greater difficulty, the same system of abnegation, on seeing the fine blocks of marble from Carrara, so that my letter might not be unconscionably heavy. From Massa, I went by rail to Florence, and so on, by land, past Viterbo to Rome; summa summarum: rolling along uninterruptedly for twenty days in horse-dragged or steam-snorting vehicles. I could not, therefore, suffer from sea sickness, unless it had been in the Scala at Milan, or the Pergola at Florence. In the Scala, I heard an opera which was meant to be Gounod's Faust, but, from the mode in which it was executed, might just as well have been called Fra Diavolo or Il Trovatore. At the Pergola, on the other hand, I was treated to Verdi's epileptic music, as represented by his horrible Nabucodonosor. In Faust, not less than the greatest portion of the third act-the Garden-scene; the Walpurgis-Night; the Festival-scene; and other trifles was cut out, while the remainder was made up with additions and interpolations from other operas, arranged à l'usage de chacun, and newly scored in such a way, that, as a rule, whenever there was a burst, all the violins and wood-instruments, as well as, sometimes, the brass, like so many pots and pans, blurted forth in unison with the singer, and remained hanging as iong as possible upon a high note, until, gradually the wind-instrumentalists lost their breath, and the bow fell from the hands of the fiddlers, nothing being left but a vermilion-colored tenor, who, blessed with better lungs than any one else, still squeaked out his high a, till even he, succumbing to the power of time, broke down in his turn. This was followed by endless jubilation among the audience, the more roaring and deafening the of his a. more roaring and deficient in good taste the mode in which the singing athlete had taken advantage A German musician, however, feels broken-hearted on hearing these magnificent Italian larynxes so shamefully misapplied, and thrown away on such musical rot as most of Verdi's operas. At such performances, any one might faney that all the persons before and around him were suffering from St. Vitus's dance. During the journey from Florence to Rome I had time to recover from the musical impressions received in the chief city of Tuscany, and to look back with rather more satisfaction on the Palazzo Pitti than on the Pergola. On Wednesday, in Passion Week, with_restored vigor, therefore, I set about the Herculean task of listening, in the Sixtine Chapel, to the five-hour evening service "Lamentationes," Tenebræ," " Miserere," &c. I must again inform you, as I have already done in the exordium to my epistle, that, humble individual as I am, I obtained, on this occasion, a place which Princes and Ambassadors might have envied; a comfordebted for it to the great kindness of a papal table seat under the singers' tribune; I was inofficial, to whom I had been recommended by an influential German ecclesiastic. If you should happen to recollect, in connection with this fact, the fable of the lion, the mouse and the net, I have no objection, for all the lions in Rome could not have obtained for me the place rendered accessible by an apparently little mouse, who smuggled me in close to the Cardinals, and thus enabled me to see everything very comfortably, while many other persons were carried fainting out of the throng. In a seat, therefore, which I shall, probably, never be able to obtain again as long as I live, I was present at one of the most impressive of religious ceremonies; one which, in its general effect, was of a most elevating nature. So much in compliance with truth! If, however, you ask what were my feelings and impressions as a musician, I must, once more in compliance with truth, give vent to the disappointment I have brought back with me. The intonation of these world which it was performed had been equal to the As an excuse talent with which it is written. for the Sixtine singers, I must, by-the-bye, mention that, in conformity with the Italian fashion, they are treated just like the hackney-coach horses; false intonation is intelligible in the case of individuals whose services are regularly called into requisition six or eight hours every day during Passion Week. Singing Societies in Germany. Singing societies of all sorts of names, for the cultivation of all sorts of vocal music, consisting of all classes of society, but mostly for the working people both exclusively of male voices and of mixed voices-are as numerous in Germany as are churches and Sunday-schools in America. That a deep love for song is planted in the heart by a regular musical instruction in childhood, and favored by a mild, even climate, which makes the lungs and whole body strong, and withal, as their every-day labor is not of that exhaustive kind which renders man even unfit for pleasure that all this should call into existence numerous singing societies, churches and Sabbath-schools. Nor is the nursing of is just as natural as that the Puritan principles of Sabbath-keeping have given us our large number of these institutions as different as it would seem at first. Wise Sunday-school superintendents take good care to have successful Christmas festivals, pic-nics, anniversaries, concerts, &c., and no pains or expense is spared to make their localities as attractive as possible. The singing societies in Germany, in like manner, while meeting mainly for the cultivation of song, always find occasion for some extras in the shape of By the last serenades, concerts, excursions, &c. steamer we received an annual report of one of the oldest societies in Germany, the Stuttgarter Liederkranz. Of its 1,091 members 38 are honorary members, every one of whom owes this honor to personal attainments either as a successful laborer for the cause as master singer, composer, or poet; and all of whom, with but few exceptions, live in the little kingdom of Wurtemberg. The active and passive paying members are from all classes of society; men of high literary attainments and reputation-government officers of all ranks, merchants, tradesmen, mechanics, and one or two gentlemen of noble birth The active members meet every Tuesday evening to practice in good earnest, as well as for social enjoyment; in which last, with German singers, next to song, lager-beer plays a prominent part; the luxury of smoking being excluded from the hours of exerthe Stuttgarter Liederkranz, during the last year, was the following: January 1. March 12. 29. 1. Celebration of New-year's day. 30. 12. 26. 11. Picnic. 19. April May have been a most splendid affair. Grand public rehearsal. Entertainment with brass band. Uhland festival. wide celebrated singers of the Sixtine Chapel is positively false; they sing without taste, and, to hear of men, or rather of castrati, would, in- cise. The programime of the large entertainment of my ear, at least, possess repulsive voices. If this stead of indulging in four octaves, be content to sing in two pure and full-toned octaves; wou'd round off their cadences quietly and in a dignified manner, instead of finishing with flourishes and blundering shakes; and emit their voices not through the nose but the throat, the strangeness of many other details which characterize them would be bearable, for the style of some among them is peculiarly interesting, and never heard, or to be heard, elsewhere-especially that of one old sopranist of sixty-five years of age! Unfortunately, however, their voices remind the hearer only too often of those of the harp-girls in the "Cafés-Concerts" of Paris. Even if I am excommunicated on account of my compa ison, I cannot help it, and I must say, despite of all the fanatici in the Sixtine Chapel, that this style, which claims to be traditionally classical, strikes July one as very unclassical, and could never be elevated into an indisputable dogma of our religion, either by the primitive fathers of the Gregorian chant, or by all the fathers of the Church put together. Any one who dared to make this assertion here in Rome would actually be stoned by every musician. But now that I have given utterance to my especial musical discontent, I return to my previous opinion of the whole-to my assertion, that at this service, as in everything a person hears and sees in Rome, the general impression is grand and overpowering, and that nothing would ever cause me to wish that the hours I spent in the Sixtine Chapel were effaced from my memory. There, too, I heard, surrounded by the approaching night, as well as by the more palpable night with which the magic of Michael Angelo has adorned the walls, a Miserere" by Allegri-or, in his style, by Baini (I could not learn with certainty the name of the composer)—which would have been very beautiful, if the Public entertainment in connection with the Turners. Schiller festival. Song festival in Kirchheim. Serenade to the new City Mayor. Garden-concert to raise funds for Körner's statue. 12. 29. 13. Inauguration of the standard of a neighboring singing society. 27. Union-concert of all singers of Stutt August 3. 24. Sept. 14. October 3. Nov. 11. gart and environs, to raise funds for Körner's statue. Excursion to the woods. Anniversary of the Society. Excursion to a neighboring locality. Serenade to their newly married Musical Director. Annual autumnal feast, followed by a grand ball. 9. Public rehearsal, 16. Trip to Tubingen to do honor to the departed Ludwig Uhland. 29. Performance of Mendelssohn's "An tigone.' 21. Meeting in honor of Ludwig Uhland. As a substantial proof of the success of this Society, we may add that it has commenced the building of a Sängerhalle" (song-hall), 180 feet by 160, and three stories high, to cost 112,000 florins ($45,000). Let us crush out the rebellion, and then see whether we cannot do something to compare with the Stuttgart singers (not drinkers). Zundel's Monthly Choir. Musical Blunders. (From the Philadelphia Dial.) The blunders of the New York musical critics are sometimes very amusing. The New York Times, "The music of Orpheus' may be superior in every respect, but in this degenerate age there are few persons among the public who would prefer it to the ornate compositions of the present period. Its attractive qualities are much like those of a curious fossil. The solemnity of the melodic themes introduced forbids applause, and suggests the idea that the fountain source of several village psalm books has been reached at last. People laugh at the eccentricities of an "Old Folks Concert," yet the spirit of the music which is usually offered at such entertainments is identical with that which pervades the scores of operas, sonatas, etc., of one hundred years ago. Why, then, it should be considered desirable to revive a work like "Orpheus," except in view of the opportunities afforded for scenic and ballet display, or as an antiquarian specimen, we cannot discover. In the present instance Mdlle. Vestvali earns whatever success it is in the power of the representation to convey." Scribe. We copied last week Mons. Feuillet's eulogy of Scribe before the French Academy, as reported by "Spiridion" to the Evening Gazette. Here is a portion of M. Vitot's reply: We must look at the essence of the man himself for the true cause of his success. Scribe possessed a powerful and really eminent faculty, which assured to him and which explains to me his supremacy on the theatre of his day. This was a gift of dramatic invention which, perhaps, nobody ever possessed to the degree he had it; the gift of discovering at every step, at every trifle, theatrical combinations of a new and striking effect, and of discovering them not merely in germ or rough sketched, but in relief, in action, and ready for the stage. While his literary brethren are preparing for one plot, in the same period of time he prepares more than four, and he attains this prodigious prolificness at the expense of his originality. He does not cast his fictions in a common-place mould. If he has his secrets, his methods, he never uses them twice in the same way. There is not one of his works but has at least its spark of originality. But then his whole life was absorbed by weaving plots and knitting incidents aud catastrophes. Night and day, travelling and at home, a-foot and in carriage, silent and talking, under the shadow of the Alpine glaciers and in the green-room of the Opera he did, he thought of nothing else. A mathematician brooding over some great problem, a commander-in-chief meditating over the plan of a campaign, were never absorbed by more obsti-writing-a more cadenced and more harmonious that he introduced them even into his alms. He Verdi's "Aroldo." NEW YORK ACADEMY, MAY 4. Conse Last evening was unpropitious for the Muses, esnew at least to this latitude-in the shape of an opera by the redoubtable Signor Verdi. We beg to mention, as a stage aside, that this opera is not new in Italy. Years back it was born and baptized under the name of Stephen, or something of that sonority. But Stephen was martyred. There was something in the plot worse than politics, namely religion, for the land in which it saw the light: there was Protestand so Stephen was martyred and forbade the boards. antism and Olympus knows what all in the story, But happily an opera has a dual life. It is words and music and although the words were killedthey were but the letter, while the music was the spirit which gave the work life. So Stephen was rehashed literature-wise. A new text was set to music. And the result is before us. I make the same remarks upon Scribe's style: between his fingers the pen slips even more quickly, than the pencil. His style is simple, natural, with nothing like turgidity and nothing like effort but what absence of everything like asperity! It has not an angle, not a salient point, not the least effect of color! Was this, too, a calculation? Was he afraid of diverting the attention of the spectator from his principal object and of pecially as they put on a spick-and-span new dresscoming into competition with himself? Was it from coquetry for his scenic effects that he remained in this crepuscular light? I know not; but this mode of writing (which, I agree, will not be without danger for the permanent reputation of his works) did not militate against the extent of his success. His cosmopolite fame most surely did not suffer by it. An unmarked style is almost a passport, especially to foreigners. Had Molière written less admirably, had he been less an artist in our language, perhaps he would have been better understood beyond the Alps and the Rhine. Therefore I conceive how it is that Scribe never made any strenuous efforts to give greater individuality to his character and brighter colors to his style. He was too popular as he was. To win was to lose as far as he was concerned. But does it follow, as he has pretend-young wife to recover the holy sepulchre. The wife must love something, as Harold was away so long ed, that he was by nature indifferent, nay, insen- banging at the heathen, and assisting, probably, in sible, to these beauties of form and style from that memorable transaction, the capture of Jerusalem, which he almost entirely abstained? I say that when the victors put the Jews inside the wall to death it is to ill-comprehend, it is but to half-see, that strange nature where all the contraries coexist, economy and munificence-enthusiasm and grovelling nature. While for his own works he neglected these sort of beauties, I assert that his heart felt, that he instinctively knew the most secret_mysteries, the most hidden laws; and for proof I would refer only to his lyric dramas, that is, to the intelligent aid, to the adroit and impassioned assistance he lent to music, to that art which is in reality but a brother of the art of The plot has the merit of simplicity. Harold, a of Peter the Hermit, leaves, like an ass, a beautiful knight bedeviled by the preachings and screechings believing, in their ecstacy, that they were the Original Jacobs who were guilty of the crucifixion (so history reporteth of the blind zeal and fury of the invaders, who thus and there abolished time to the tune of twelve hundred years). The love of the wife of Harold for something was only a sort of flirtation after all, but it terribly distressed Harold on his sudden return, for he saw that Mrs. Harold behaved in a monstrous queer manner generally. Mrs. Harold, however, wishing to give over the flirtation, writes a letter to the gentleman, and puts the note in a wellbound volume for his "single eye." The course of true love, however, runs rough, and this letter was picked out by Harold of the well-bound tome lying on a table, in a grand ball-room, where knights in real armor were doing everything but dance. Harold availed himself of the opportunity to denounce his wife in a most tempestuous manner before the whole crowd, who, previous to that time, had been elaborately gay, and singing like doves to the soft accom. paniment of the brass tubes and kettle drums, and cymbals and great drum. The Harold lady, however, had a father, who interfered, and made the quarrel his own. The pater familias did not allow the documents to be read, and so-forth. Finally, Harold is about to kill the sentimental gentleman who admires his wife; but a Hermit, a man with a beard, bass-voice, and that truculent manner which belongs of right to stage-hermits (who were the Broadway squad in the rough, of the Middle Ages), interferes, and assures Harold that bloodshed is contrary to the canons of the church. Harold, being a good sort of a fellow, relents, spares the sentimentalist, and emigrates to Scotland. Notwithstanding that country was the dullest place in Christendom at the time, Harold contrived to exist there, but only as a Hermit-in company with the other Hermits. Mrs. Harold being out on an emigrating tour herself, happened to be wrecked, one fine morning. upon the very coast where the Hermits were. One of the Hermits, finding that the sentimentalist had been killed by the irate father of the lady, and being assured that the whole affair amounted to nothing but a little pastime to while away dull hours during his Saracenic business, and feeling finally complimented thereby, rushed into the lady's arms. Not necessary to say that this Hermit was the junior member of the drybean and cold-water firm. There is of course a terrible (musical) pother, leading, one would suppose, to no end of lyrical bloodshed; and there is bitter disappointment felt by the audience that blood did not stream down the stage, and overwhelm the prompter in the immensity of tragic wrath. But when authors forget their duty and make jolly conclusions, all the critic can do is to utter a caveat and submit. The music, the main thing, now claims a word. Up to the time of the apparition of Bellini's Il Pirata, in or about the year 1828, Rossini's music, and that of a few imitators, ruled. The introduction of a new style, in which a large simple theory and practice of declamation-(and after all the talk about recent musical declamation, we find nothing superior or purer in its genre than the revelations of that now old work Il Pirata)-had an immense effect on the works of others. Donizetti, like a skillful general, changed fiorituri tactics, and wrote his Lucia: and no composer could hope for mercy who did not accept the new light-that is the old one-the Gluck theory of declamation-adding thereto the higher ecstacy of modern, and the nineteenth century, melodies, and the increased sonority and prominence of the orchestra, with the fresh and improved instruments. In this opera of Aroldo, we find the new school-phrasing, climax, declamation-all adopted -but with the touch of genins of course-for without that, Signor Verdi could not have made his mark. Music Abroad. BERLIN. The Neue Berliner Musik-Zeitung announces the death (which occurred April 27) of its editor, GUSTAV BOCK, the well-known music publisher (Bote & Bock). Herr Bock was one of the most active friends of music, particularly in the higher walks of art.-RICHARD WAGNER had arrived, intending to make a visit of some length. The Royal Opera House, by last accounts, was still pursuing its eclectic policy, giving on one night Auber's Domino Noir (with Mlle. Artot, Herren Formes, Woworsky and Bost in the principal rôles), successfully for singers not entirely at home in the light French opera comique; then Gounod's Faust and Margaret, still French, but of a more serious aim; then a couple of their own immortal classics: Don Juan, (with Frl. Maria Müller, from Hanover, as Donna Anna,) and Le Nozze di Figaro (with Frl. De Ahna to succeed Mme. Köster as the Countess, Mlle. Lucca as Cherubino, and Frau Harriers-Wippern as Susanna); then another little French piece, Grisar's Monsieur Pantalon; with due admixture now and then of Verdi. Out of the unceasing list of interesting concerts let the correspondent of the London Musical World (who of course is always present and hears all-else how could he write such long letters about it) select, as follows: First and foremost, in point of time, comes the last Soirée for Chamber Music given by Herren Lange and Oertling in the Englisches Haus. It began with a Trio by Giädener. This composition was given, if we are to trust the bills-and when was anything in print not scrupulously exact?-at the wish of several persons not named. I cannot say that I particularly admire the taste of these unknown venerators of Herr Grädener's talent. The most salient features in the Trio consisted of reminiscences of Beethoven and Mendelssohn. When I wish to refresh my recollection of those great master productions, I prefer consulting them myself to meeting with their disjuncta membra in the trios of any "Grädener" that ever lived, does live, or will live in sæcula sæculorum. The Trio was well played by Herren Lange, Oertling and Espenbahn. Herr Lange then performed three solo pieces of his own composition; and Herr Oertling the first movement-amply sufficient-of Herr Anton Rubinstein's Violin-concerto. Schumann's Pianoforte Quintet concluded the programme. In the course of the concert Mdlle. E. Hautscheck sang several songs, including one by Schumann, one by Franz, and the cavatina from Norma. Herr Ehrlich and Signor Sivori announced a Soiree for Chamber Music, but it could not take place, in consequence of Sig. Sivori being detained by serious indisposition in Dantzic. Herr Ehrlich conseof the Sing-Akademie, when, with Herr de Ahna and Dr. Bruns, he played Schubert's Trio in B flat major, together with a number of small pianoforte The first act-often the least impassioned one of dramas and operas, in this instance rules the night.quently got up a concert the next day, in the rooms It is the most surcharged with melody and interest. We may note the fine bits assigned to Signor Mazzoleni, whose terseness and resonance of delivery electrified the house. The finale of the second act, however, is one of the best pieces in the opera: it is splendidly worked up-has good counterpoints in running syllabled phrases, and a happy contrast to this in subsequent long-drawn notes. The baritone's solo-a piece of sweet revenge in prospect is a happy inspiration. The prima donna is all grief-and in dulcet tones means to do poetical justice-but the plot is against her-and it is ouly in the fourth act that her happi ness is achieved. There was not as large an audience present as we expected-but there was a great deal of applauseand we beg to say quite as discriminating as it would have been in any European Opera House. The cast of characters was as follows: Aroldo, a Saxon Knight, Signor Mazzoleni; Mina, his wife, Mlle. Ortolani Brignoli; Egberto, father of Mina; Godrin, a Knight Crusader, Herr Rubio; Enrico, cousin of Mina, Signor Reinhart; Rryan, a Hermit, Herr Muller; Ellena, cousin of Enrico, Mme. Ficher. LISZT, with several other musicians, has founded an Academy in Rome for the "Revival of Classical Music, Sacred and Profane." They have already given five concerts, which were well attended. solos ancient and modern. The concert was invested with a certain additional interest for some persons by the fact of its being the last at which Mdlle. Artôt would make her appearance previously to her departure. She sang an air by Handel and the "Aragonnaise" from Le Domino Noir, but even her greatest admirers were obliged to admit that the last fell flat. And so, farewell, Mdlle. Artôt, until next season! The programme of the eighth Sinfonie-Soirée of the Royal Chapel comprised "Schottische Hochlands Ouverture"-Niels Gade; A major Symphony-Mendelssohn; Overture to Coriolanus and Pastoral Symphony-Beethoven. All these were played in firstrate style, though the palm for execution must certainly be awarded to the symphony by Mendelssohn. The next and ninth concert brought the series to a brilliant close. The pieces selected for the delectation of the audience were Cherubini's Overture to Lodoiska: Schumann's Symphony in B flat; the Overture to Oberon; and Beethoven's Symphony in C minor. The last two were executed in a manner that sets all attempts at criticism at defi ance. | the latter been entrusted to experience, professional artists; but it is a rule that they shall always be sung by members of the Academie, and so, on the principle that a man must not look a gift-horse in the mouth, the public have no right to complain. They may, however, express their regret, I suppose, and, therefore, I, as one of them, now do so. On the 26th of April, Herr Fritz Hartvigson, from Copenhagen, and a pupil of Herr Hans von Bülow, made his first bow to a Berlin audience, in Bechstein's rooms. By the way, I must mention the fact that all present obtained admission by special invitation. It is a bad thing for a young artist to begin his career before an "auditorium" filled with his own friends and those of his instructor. The programme comprised Liszt's Concerto in A, No. 2, and Fantasia on Hungarian National Melodies; "Giga con Variazioni" from Op. 91, by Raff; Herr von Bülow's "Mazurka Impromptu" (I wonder how many months were consumed by the composer in producing the said "Impromptu"?); "Au Lac de Wallenstedt," and "Tarentella," from Auber's Muette, by Liszt, and Rubinstein. Herr Hans von Bülow presided at a the "Galop de Concert," from "Le Bal," by Anton separate grand pianoforte and played the orchestral accompaniment to the first two pieces. A second volume of MENDELSSOHN'S Letters is said to be forthcoming. LEIPZIG. The first Haupt-Prüfung, or grand examination, of the Conservatory of Music took place on the 18th of April in the hall of the Gewandhaus. We translate from the report of it in the Signale: "All the performances bore the stamp of carefulness and solidity; not one of the young men and women need to shun the light of publicity; and some among them rose far above the level of pupil performance. To name them in order: "1. Concerto for piano, by Moscheles, played by Fraulein Emma Mayer, of Riga.-Right thoroughly studied and technically well executed; the delivery too was animated and showed much sense for musical expression. "2. Concerto for violin, Spohr (No. 2, D minor), played by Georg Hänflein, of Breslau.—Great cleanness and solidity; the youthful pupil will soon acquire the nerve yet wanting in his tone and delivery. "3. Capriccio for piano, in B minor, Mendelssohn, played by Frl. Nanette Müller, of Lucerne.-Delivered with a very easy hand and in the liveliest tempo; a little more marrow wanting in the touch. "4. Concerto for violin, F. David, played by Otto Peiniger, of Elberfeld.-An almost thoroughly successful performance. "5. Concerto Fantastique, for piano, by Moscheles, played by Mr. CARLyle Petersilea, of Boston, U. S.-Altogether excellent in technical respects, and with much definiteness and ripeness of expression. The best piano performance of the evening. "6. Concerto for violin, Mendelssohn (2d and 3d movements), played by Otto Freiberg of Naumburg. Tone and techniqne betray good foundations and attentive study. "7. Concerto for piano, Chopin (F minor, 2d and 3d movements), played by Miss Emily Matthews, of London.-Showed a respectable fund of execution, equal to her task; room for finer shading, &c. "8. Hungarian Concerto, for violin, by Joachim (1st movement), played by Aug. Wilhelm, of Weisbaden.”—Praised in the highest degree. VIENNA. Mme. Mulder-Fabbri (who sang in New York and Boston with Stigelli) has distinguished herself in the rôle of Valentine in the Huguenots. Herr Walter was the Raoul. Next followed Meyerbeer again-L' Etoile du Nord, in which the part of Peter is said to have been marvellously sung by Herr Beck.-Adelina Patti is said to be already reengaged by Merelli for the months of February, March and April of next year.-No great success without its parody! says the Gazette Musicale. When Catalani was at the height of her career, they played in Vienna a piece called La Fausse Catalani; and now the Jo The fourth and last concert for the benefit of the Gustav-Adolph-Stiftung was got up by the members of the Sing-Akademie, in whose rooms it came off. Handel's Alexander's Feast was selected, and the result was eminently satisfactory. Greater effect might, it is true, have been got out of the solos, had | sephstadt theatre announces La Fausse Patti: the |